Dream Theater - Systematic Chaos (W/Dvd) (Spec)
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Music CD Cover
Artist: Dream TheaterEdition: Music CD
Format: Special Edition
CD Release Date: 2007-06-05
Music Label: Roadrunner Records
Soundtracks:
- In the Presence of Enemies, Pt. 1 [DVD]
- Forsaken [DVD]
- Constant Motion [DVD]
- The Dark Eternal Night [DVD]
- Repentance: VIII. Regret/IX. Restitution [DVD]
- Prophets of War [DVD]
- The Ministry of Lost Souls [DVD]
- In the Presence of Enemies, Pt. 2 [DVD]
Free Music Notes for Systematic Chaos (W/Dvd) (Spec)
Free Music Review: Systematic Chaos (maybe 4 1/2 stars, actually)
Hit: 5 Stars
By now, Dream Theater fans should be used to the band's new studio album release schedule. Almost two years to the day after OCTAVARIUM came out, we basically knew and felt like it was time for another album.
I've so far listened to this album six times and it gets better with every listen (much like OCTAVARIUM, which didn't quite grab me right away). I believe that Mike Portnoy hit the nail on the head when he mentioned on the SCORE bonus disk that METROPOLIS 2: SCENES FROM A MEMORY was "the resurrection of Dream Theater...." This is probably because every album from that moment sounds more powerful. While listening to SYSTEMATIC CHAOS, I could recall just about every one of my favorite moments from the previous four albums (plus some other stuff from way earlier in their career).
OCTAVARIUM was a kind of free-floating up-and-down mix of styles that, while very good, wasn't quite as powerful as some of these newer 21st century Dream Theater releases. SYSTEMATIC CHAOS, for whatever reason, seems a lot more focused and edgy and way heavier, not to mention that it seemed the most experimental and technical album they've done since SIX DEGREES OF INNER TURBULENCE. In any case, they've managed to balance out the intensity of those previous four albums and create, so far, the best 79 minutes of music I've heard all year.
It's a thrill ride from start to finish. The first seconds of "In the Presence of Enemies, pt. 1" sound like the Dream Theater we all know and love, sometimes taking pages from the Liquid Tension Experiment sessions. The latter half of the first track reminds me more of both "Blind Faith" and "About to Crash." On the first listen, I wasn't quite grabbed by the lyrics (a bit of problem for me on this album, but now I don't much care anymore; I like the music first, really), but once I watched the bonus DVD of the making of the album, I had a better appreciation.
"Forsaken" sounds like they broke into Evanescence's practice space late at night and stole what would have probably ended up on their latest album. It's the weakest song, in my opinion, but still very good. Its rather accessable feel and song structure probably could have put it on OCTAVARIUM, but the heaviness of the guitar riffs remind of the TRAIN OF THOUGHT album.
Fifteen minutes in, we get to Mike Portnoy's first song, apparently about his psychological state (obsessive compulsive disorder), which is a subject that has been rearing its head numerous times over the past few years. "Constant Motion" starts out with some rather progressive elements in the intro before finally settling to an old-Metallica-style verse and chorus. The dual vocals of James LaBrie and Mike Portnoy kind of remind me a combination of "The Glass Prison," as well as a little "Burning My Soul," "Under a Glass Moon," and "Fatal Tragedy" thrown in for good measure. Again, not the best song on the CD, and certainly not my favorite, but this is the kind of thing that Dream Theater has become revered for lately.
"The Dark Eternal Night," after the first listen, was probably my favorite song on SYSTEMATIC CHAOS right up until that point. The opening instrumental parts and verses sound like a combination of Slayer, Pantera, and Mudvayne (that bass chord really does it for me), as well as earlier songs like "The Mirror" and "Honor Thy Father." Parts of the chorus remind me of bits of "A Change of Seasons" and "Endless Sacrifice." Then came the bridge, which honestly left me laughing hysterically at the way they arranged the parts. It's like they chopped up "The Dance of Eternity" into small pieces, threw them in the air, and wherever they fell was what they came up with. It's death metal, then ragtime piano, then some more death metal, then some jazz fusion section, and some blistering guitar solo. This might be the strangest song they've come up with in years, or at the very least, the strangest bridge. This song probably has the heaviest guitar riff (in the outro) they've ever written.
In previous recordings, Mike Portnoy's AA songs have typically been all-out shred fests; I recall listening to "The Glass Prison" for the first time and being blown away by that kind of technical guitar skill. "The Root of All Evil" was a little more tame, but with that being the third installment of the series, I was beginning to think that future songs in the series would be absolutely unforgiving in terms of speed and volume -- surprisingly, not the case. "Repentance" is rather mellowed out and, honestly, a welcome change. It kind of reminded me of Porcupine Tree (Steve Wilson is on there, anyway, as one of the guys doing voice-overs during the latter half of the song) and Pink Floyd, and it seemed to borrow from such previous songs as "Disappear," "Peruvian Skies," and "Sacrificed Sons." After listening to this, you, like myself, might find yourself wondering how the hell they're going to wrap up this now four-album-long series of songs. I would be interested in knowing how this is going to end.
OCTAVARIUM contained a song called "Never Enough," which sounded like "Stockholm Syndrome" and "Hysteria" by Muse. After the release of Muse's BLACK HOLES AND REVELATIONS, Dream Theater probably figured that, hey, one derivation of Muse is never enough (pun intended). The result was "Prophets of War," a song that questions the direction and leadership of the U.S. war on terror and war in Iraq. It's not the best song on the CD by any stretch, nor is it anywhere near as good as "Never Enough," but it does continue the sort of social awareness in the lyrics as displayed on previous albums in songs like "The Great Debate," "In the Name of God," and "Sacrificed Sons." On an album on which John Petrucci seems to be resorting to writing short stories and adapting them to music rather than writing about himself, it was somewhat of a surprise to find James LaBrie finding room for this song on this album. The fan chant section is also pretty cool and lends itself to the dissent theme and message of the song.
The seventh song has been a favorite of mine on previous Dream Theater releases ("In the Name of God," "Sacrificed Sons," "The Mirror," and "Lines In the Sand"). Here, they've provided me with another great one, "The Ministry of Lost Souls"; it also happens to be my favorite song on the CD. This is because it recalls my favorite moments from recent albums. Basically a long power ballad, this reminds me of a whole bunch of things at once, including "Beyond This Life," "Through Her Eyes," "Home," "Finally Free," "Blind Faith," "Losing Time," "Endless Sacrifice," "In the Name of God," "I Walk Beside You," "Sacrificed Sons," and "Octavarium" -- and probably numerous other Dream Theater songs. The overall essence of the band can probably be bottled into this single 15-minute song. The guitar leads are just gravy and the bridge is excellent. Fans of the aforementioned songs are going to love this.
After listening to just under an hour of music after the first track, SYSTEMATIC CHAOS is finally sandwiched with "In the Presence of Enemies, pt. 2." I think that if the entire song was kept whole for 26 continuous minutes, it wouldn't have had the same effect. In fact, this track arrangement is a lot like the running theme of OCTAVARIUM. As one would expect, the themes from part 1 are brought back. While the musical arrangement is impecable, the lyrics are kind of cornball ("My soul is yours, Dark Master/I will fight for you"); suddenly, I have the urge to get a 20-sider and roll for initiative. Sorry, just kidding. This is basically the battle of good and evil going on within, the presence of a conscience. While I get the idea, I just think that the lyrics could have been better than they are. Other fun songs from years gone by rear their heads on this song; the "III - Heretic" chorus keyboards sound like "Sacrificed Sons," "Pull Me Under," "War Inside My Head," and "A Change of Seasons; and "IV - The Slaughter of the Damned" sounds like "The Glass Prison," "The Great Debate," "Learning to Live," and "These Walls." Much of the end of the song is remeniscent of "The Dance of Eternity," "Octavarium," "Trial of Tears," and "Losing Time."
Overall, the entire album is basically what the album title states. Totally out of control songwriting and structuring, but played with the elan and class that we've come to love these guys for. Really, I have to dock half a star for the lyrics, but the musicianship is quality.
Systematic Chaos (W/Dvd) (Spec) Poster
Progressive rock masters Dream Theater return in full force with their ninth studio album Systematic Chaos. The album features heavy riffs, soaring melodies, and intricate arrangements. Dream Theater appeases its loyal fans but also reaches out to all rock fans with hook-laden hits like "Constant Motion," "Forsaken," and "The Dark Eternal Night."Dream Theater has built a career on delivering some of the most consistently strong progressive rock albums in history and Systemic Chaos proves no exception. Built upon the trademark musically diverse but stylistically reliable principles that made albums such as Six Degrees of Inner Turbulence and Train of Thought instant classics, this album features new career highs such as "Prophets of War," "Forsake," and "Constant Motion." Although the band has flirted with commercially viable material in the past, especially on 2005's solid and exciting Octavarium, Systemic Chaos proves unrelenting in its pursuit of pure heavy rock. There are plenty of surprises in store, even for stalwart fans, perhaps one of the reasons that Dream Theater remains in a class by itself, ahead of the pack and ahead of the times. A truly outstanding album by any measure.--Jedd Beaudoin
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